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Charles André Van Loo (1705 - 1765), also called Carle Van Loo, came from a famous family of artists originally from Flanders. Already his grandfather Jacob Van Loo was a painter, as was his brother Jean-Baptiste Van Loo. Of all Van Loos, however, Carle was probably the most successful. His education began very early, because his father died when he was 7 years old. So he had to move in with his 21 years older brother Jean-Baptiste and his family. Carle not only learned from his brother, but also had the opportunity to take lessons from well-known artists during their trips to Italy together. During his second stay in Italy (1716 - 1718) he was apprenticed to the painter Benedetto Luti and the sculptor Pierre Legos.
His first oil painting "The Good Samaritan" was painted around 1723, after he had returned to Paris. He received his first own commission "Representation of Jesus in the Temple" in 1725, before he supported his brother Jean-Baptiste in some larger commissions. He won the prize Prix de Rome of the French Academy in 1724, which should finance his stay in Rome. Since the Academy did not pay, Van Loo had to earn the money for the trip himself. So he did not make the trip until 1728. At about the same time his competitor François Boucher, as well as his nephews Louis-Michel and Francois Van Loo came to Rome. Carle Van Loo was also able to convince in Italy and rose quickly. His paintings and ceiling paintings even attracted the attention of Pope Benedict XIII.
After working for a few years in Rome, Florence and Turin, Carle returned to Paris in 1734. He was immediately accepted at the Royal Academy of Arts. Only a few years later he was a professor himself, later he rose to become rector and finally director of the Academy. Among his students were Jean-Honoré Fragonard, Boucher's son-in-law Francois-Hubert Drouais or Johann Heinrich Tischbein the Elder. Van Loos' last period of life was also his most successful. He was in demand at court, by the church and by wealthy private individuals, which meant that his works were very varied. Twice he was allowed to paint a portrait of King Louis XV and once also the Queen in Versailles.
Charles André Van Loo (1705 - 1765), also called Carle Van Loo, came from a famous family of artists originally from Flanders. Already his grandfather Jacob Van Loo was a painter, as was his brother Jean-Baptiste Van Loo. Of all Van Loos, however, Carle was probably the most successful. His education began very early, because his father died when he was 7 years old. So he had to move in with his 21 years older brother Jean-Baptiste and his family. Carle not only learned from his brother, but also had the opportunity to take lessons from well-known artists during their trips to Italy together. During his second stay in Italy (1716 - 1718) he was apprenticed to the painter Benedetto Luti and the sculptor Pierre Legos.
His first oil painting "The Good Samaritan" was painted around 1723, after he had returned to Paris. He received his first own commission "Representation of Jesus in the Temple" in 1725, before he supported his brother Jean-Baptiste in some larger commissions. He won the prize Prix de Rome of the French Academy in 1724, which should finance his stay in Rome. Since the Academy did not pay, Van Loo had to earn the money for the trip himself. So he did not make the trip until 1728. At about the same time his competitor François Boucher, as well as his nephews Louis-Michel and Francois Van Loo came to Rome. Carle Van Loo was also able to convince in Italy and rose quickly. His paintings and ceiling paintings even attracted the attention of Pope Benedict XIII.
After working for a few years in Rome, Florence and Turin, Carle returned to Paris in 1734. He was immediately accepted at the Royal Academy of Arts. Only a few years later he was a professor himself, later he rose to become rector and finally director of the Academy. Among his students were Jean-Honoré Fragonard, Boucher's son-in-law Francois-Hubert Drouais or Johann Heinrich Tischbein the Elder. Van Loos' last period of life was also his most successful. He was in demand at court, by the church and by wealthy private individuals, which meant that his works were very varied. Twice he was allowed to paint a portrait of King Louis XV and once also the Queen in Versailles.